Each variation is the end result of methodical sequences of sound processing exploring all the possibilities of computer manipulation of digitised sound data - stretching, squashing, restretching and resquashing giving the concertina'd timbres of Tamz; filtering, distorting and reverberating backwards and forwards to create the rough textures of Tamx and Tamxr; modulating brown noise with the source audio to give Tamb; and simple stretching and reverberating resulting in the billowy melancholy of the collection's opener Tam814.